The embroidery of Kutch and Saurashtra: Part II – Rabari bharat

Rabari bharat (embroidery) is one of the most famous styles of needle work from the western part of the Indian subcontinent, done by the community’s women.

Photos: Vincent Boyer (Say hi on instagram @shape.photos)

This is the second in a series of blog posts discussing the needle work heritage of the Saurashtra and Kutch (also spelt Kachchh), where I will share a glimpse of embroidered textiles from the region that I have bought over the years as well my own creations.

You can find the first post here I recommend that you read that for background information on the area. The rise of commercial embroidery based on the dowry traditions of Rabaris, Ahirs, Kanbis, Mutwas, Jats, Node and a host of other communities has been a distinctive part of Indian arts and crafts scene.

Since the advent of commercial embroidery in the mid to late twentieth century, it has gradually become an important source of income for women. The market for embroidered textiles has transformed the lives of thousands of female artisans in the rural areas of Gujarat .

Rabaris are one of the pastoral communities of the region, they were traditionally camel herding nomads some of whom have now planted roots and integrated into their local communities.

There are various meanings attributed to the word Rabari, one of them is; outsiders, a nod to their nomadic way of life or it could be a synonym for those who make soothing sounds, based on the reassuring way they communicate with their animals or many believe it stands for those who transcend rules and regulations.

The exact origin of the tribe remains unknown due to the lack of written records but many experts believe that they migrated to India from Iran via Afghanistan through Baluchistan around a thousand year ago, although this has been disputed by some, who have cited a more significant connection with the Rajputs of Rajasthan.

The majority of Rabari are spread across the north-western states of India as well as the Sindh province in Pakistan, they include 133 recognised sub castes who follow the Hindu faith. According to tribal myth they were created by Matadevi (Goddess Pavarti), the consort of Lord Shiva.

I have heard multiple versions of the story from different Rabari sub-groups, according to one of them, Parvati cleaned dust and sweat from Shiva as he meditated and moulded a camel from the dirt while in another version, he created the first camel for her as an amusement.

In both versions the camel kept escaping to explore, so folklore suggests Parvati created the first Rabari to mind it. Herding animals is therefore regarded as a near sacred occupation by the Rabari who see themselves as animal custodians rather than owners of their flock.

There are primarily three subgroup of Rabari’s in Kutch whose work I have bought over the years: Kutchi/Kachhi Rabari, Dhebariya Rabari and Vagadiya Rabari. Style of Rabari embroidery varies from subgroup to subgroup.

The main subgroups of Rabaris in Saurashtra that I have bought embroidered textiles from are: Bhopa Rabari, Gohilvadi Rabari and Panchal Rabari.

The Rabari are known for their distinctive artistic aesthetic, particularly the mirrored mud work that adorns the walls in their homes and villages. Outside of Gujarat the women of this tribe are most renowned for their detailed embroidery and beadwork.

They decorate textiles in patterns that subtly highlight significant events, rites and values in their lives, as well as historical events important to the entire clan. This helps to perpetuate the knowledge of their heritage, since they have no written tradition and rely on storytelling via their textile crafts called; gop-sanskrut.

Traditionally unmarried women embroidered elaborate items for their trousseau like batvas (small purse), chakla (wall hanging), toran (door hangings), kachliyo (extensively embellished upper garment for women), chaniya/ ghaghra (gathered skirt), ludi (shawl) kapda (blouses), kothlo/ kothro (dowry sack) married women intricately embellish children’s clothing like zuldi (elaborate upper garment for a young boy), vanzno (lower garment for young and older males), kediyu (an embellished flared upper garment for men), bandi (upper garment for men worn by themselves or under a kediyu), topi (cap), animal trappings, household items and godhiyu (cradle cloths).

Customarily, married women in these sub-groups were forbidden to leave for their marital homes till they completed the detailed embroidery on the items for their trousseaus/ dowry and it is said that many women stayed in their parental homes completing these till they were in their forties.

The phenomenon of women going to their marital homes later in life was blamed for the lowered birthrate in the communities while the passing of time and inflation in both, dowry and bride price, had brought some Rabari communities to the brink of financial and social catastrophe.

Keeping these factors in mind, in April 1995 Rabari Samaj, the governing council of the Dhebaria Rabari community of Kutch banned the making and use of embroidery and the Vagadiya subgroup followed a few months later.

In the decades following the 1995 ban, Dhebarias have completely stopped wearing embroidered clothing and now a bulk of Rabari women wear all black and men wear all white.

Despite them being banned from wearing embellished clothing, many Rabari women in Kutch and Saurashtra create amazing needlework pieces, for government emporiums like Gurjari as well as non-governmental organisations (NGOs) working in the craft development sector.

After the ban on bharat kaam, a massive market opened up for vintage Rabari textiles with collectors from overseas paying a premium to acquire them. These days very few artisans follow the old-style bharat and most just create as per design instructions from those who place the commercial orders.

The first photo above features a Rabari embroidered bag from Saurashtra with prominently placed mirrors and some beaded details worn with a handwoven saree from Srikalulam in Andhra Pradesh. You can look at the bag more closely in the second photo.

The third and fourth photos feature a hand embroidered patch of fabric, again from Saurashtra that I now wear as a skirt and a vintage Levi’s trucker jacket that myself and the boy embroidered during our stint in self-isolation. The design for the patch on the denim jacket is based on an old cushion cover embroidered by Rabari artisans that I was obsessed with when I was younger.

The fifth photo features a vintage embroidered choli that is a wonderful example of the traditional motifs of the Dhebariya Rabari Community from Kutch.

Traditional and current Rabari style of needle work make extensive use of the interlacing stitch locally called bavadiyo or bavaliyo tanka, broad chain stitch (chireli sankli), Herringbone stitch (desi bharat), various kinds of mirror (abhla) work like bandha kaanch (bound mirror), dana (basting), interlaced and normal button hole stitch, double running stitch (bakhiyo tanka) as well as extensive patch and applique work.

There is so much more to share about the Rabari design language and their motifs that I can’t really condense it in one post. I have a few vintage Dhebaria Rabari pieces that I will share in another post along with detailed information on commonly used motifs in this style of hand embroidery.

Fun fact: The mirrors in the Rabari style of embroidery are bigger than most other styles because the tribe believes that mirrors ward off evil, therefore bigger the mirror, the better it is.

If you enjoyed reading this post and want to know more about embroidery styles of the region, I recommend the following books:

1. Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris: Judy Frater
2. The Embroidery and Beadwork of Kutch and Saurashtra: J.M. Nanavati, M.P. Vora, and M.A. Dhaky

I have a few more books on my wish list that I will share in the upcoming blog posts, so keep an eye out for them.

The delightful geometry of ikats from Andhra and Telangana

I have always been enamoured by the almost dizzying symmetry and angular precision of ikat textiles from the Andhra Pradesh/Telangana region….

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

In these photos I am wearing a vintage Pochampally silk saree that is a preloved treasure over a merino wool base layer for a relaxed afternoon brunch and playtime with the puppy face.

The Andhra style of yarn resist-dyed woven fabric, i.e. ikat, is known locally in Telugu as ‘paagadu bandhu’, ‘chitki’, ‘buddabhashi’ and more colloquially as Pochampally.

I am just going to refer to the region as Andhra in this post, I think this two-state demarcation is going to take me ages to get used to. In modern day India, this region is the largest exporter of ikat textiles, which really surprised me because I always assumed that the state of Odisha had bigger production and export.

The dominant motifs in indigenous Andhra ikat textiles include simple as well as intricate geometric designs, multicolored patterns, wedge-like patterns and stripes. There isn’t much in terms of documented history to ascertain the exact time or origin of the ikat technique in the region but it is widely accepted that the craft isn’t an ancient practice in the area.

The oldest centre for ikat textiles in the region is believed to be Chirala which used to produce the famous double ikat ‘telia rumal’ (oily handkerchief) or ‘chowkas’ (diamond within a square) measuring between 55 to 75 cms. The most common motifs in telia rumals include a geometric representation of mathikai (a local fruit), and mallipu (jasmine).

Traditionally only red, black and white yarn were used to create these fabrics and they were offset by wide single coloured borders. In India, they were more commonly seen on fisher folk and cowherds as loincloths, lungis or turbans. And there are document to prove that in the 1930’s they were exported in large numbers to Burma, the Middle East and East Africa where they were known as Asia Rumals.

Currently, only a few weavers in the Puttapaka village of Nalgonda district create this complicated weave. Apart from the telia rumals all other double ikat produced in the states are heavily influenced by the Patolas from Gujarat.

As per the geographical indication (GI) tag application, Pochampally ikat textiles come from at least 40 villages within a 70 km radius of Hyderabad. This includes Nalgonda, parts of Warangal, including Pochampally, Koyalagudam, Puttapakka, Elanki and Chautupal. From my research into the Geographical Indication Journal archives, telia rumals are covered under the GI tag bestowed upon Pochampally.

And as per the journal the three basic forms of Pochampally ikat are;

i. Single ikat, where either warp or weft threads are tied and dyed prior to weaving.
ii. Combined ikat, where wrap and weft ikat may co-exist in different parts of a fabric occasionally overlapping.
iii. Double ikat, which is by far the most complex form. Here both warp and weftthreads are tied and dyed with such precision, that when woven threads form both axis, mesh exactly at certain points to form a complete motif or pattern.

As per documents from the Intellectual Property India archives from 2017, currently there are about 100 master weavers who are ultimate authority in crafting these textiles. These artisans have complete knowledge in all aspects relating to the process of making Pochampally ikat, including the critical art of design visualisation, tying and dyeing of yarn till they represent the original draft, loading the looms and finally weaving the fabric to get the desired array of motifs with diffused edges.

For another post featuring a double ikat on cotton from this region please click here for previous posts featuring ikats from Odisha click here, here, here and here.

Random Trivia: It is common to see Pochampally referred to as Bhoodan Pochampally after the Bhoodan (short for Bhoomi daan) Movement. The movement began in 1951 when Vedire Ramachandra Reddy became the first wealthy landowner to voluntarily donate 100 acres of land to Vinoba Bhave in order to benefit landless labourers.

Different styles of Indian hand block prints

Manual block printing on textiles using wooden blocks has been an artisanal craft practiced in India for centuries …

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

Hand-block printing is one of the oldest and currently among the most popular forms of ornamentation on textile surfaces.

Based on available historical texts it is believed that printing designs onto fabric most likely originated in China about 4,500 years ago but it is on the Indian subcontinent where hand-blocked fabric reached its highest visual articulation.

Indian artisans of yore possessed unparalleled expertise in the secrets of natural plant dyes, particularly with mordants which are metallic salts that both create color and allow it to adhere to fabric.

Between outside influences from Persia and elsewhere, the impact of Mughal invasion and the diversity of the subcontinent’s own indigenous communities and tribes, India has one of the most spectacular pattern vocabularies on this planet.

The saree I am wearing the the photos features the Jawariya Dana, a tribal print from Tarapur, a village in Neemuch district in the central Indian state of Madhya Pradesh. It has a beautiful combination of alizarin hand block printing on the body and Dabu resist techniques on the border and parts of the pallu, displayed on mul cotton fabric.

Jawariya Dana is just one of the many styles of hand block printing from India and I thought I’d list a few of the types I wear quite often over a couple of posts here on Pleats n Pallu.

Jawaria Dana is colloquial speak for ‘jowar ka dana’ (a grain of sorghum or cereal grass), it is a traditional design term used for the block prints made on the odhanis (scarves) of women from the Bhils, Jats , Bhilals and other tribes of Rajasthan and MP.

They usually feature a red or pink (pink for the bride in kachcha colour, the colour is supposed to bleed and colour the bride pink) with small dots allover which are the size of grain of jowar.

Traditionally the danas would be made using the Indian tie and dye technique called bandhani however, these block printed ones are more common these days. A few local artisans in the area still follow the traditional bandhani technique to decorate odhanis and lugdas (body cloth).

These are sarees hand block printed and alizarin dyed in black and red . Blocks used are same as what the printers use for printing for the tribals so there would be misprints or defects as well.

Nandana is another elaborate style of manual block print practiced by the local Chippa community in Tarapur. It is a time-consuming, labor-intensive process involving about 16 steps to get to the final design.

Traditionally these prints decorate rough thick fabrics used for making ghagras (gathered skirts) for the women of tribal communities in Rajasthan, Madhya Pradesh and Gujarat. These prints have a limited number of block patterns, mostly flowers and fruits that are printed in the same manner all over the fabric.

I believe there are just five designs ranging from small buti to big buta known as mirch, champakali, dholamaru, amba and salaam are the signature motifs for these prints. You can see a saree featuring this print on a previous blog post here.

Dabu is a unique fabric art-form created by a mud resist process using wood blocks in the Bagru village of the western Indian state, Rajasthan. In this, a design is sketched onto the background cloth which is covered with wet clay sprinkled saw dust.

The saw dust clings to the textile as the clay dries and then the entire cloth is dyed in select colors. The parts with the clay and sawdust mixture do not catch the dye and remain colourless. The fabric is washed post dyeing and drying and may be dyed again in a lighter shade to cover the patterned area.

Traditionally this form of printing was environmentally non-toxic because it used no harmful or synthetic dyes.

You can see sarees featuring this print on sarees in previous blog posts here and here, on dress and shirts here, here and here.

The Bagru style of hand block printing is eponymously named after the village it has originated from, which is a short drive from Jaipur.

In order to created these prints an artisan first stamps the background block (locally known as gudh), followed by an outline block (the rekh) and finally the datta are filler blocks which complete the design.

On average, a printer uses a minimum of four or five blocks to etch one motif on a length of hand printed cloth.

It sometimes takes a couple of days just to carve and finish a single block, as the selection and seasoning of local woods is an elaborate process, specific to each pattern.

In Bagru, carvers often use woods like sagwaan (teak), sheesham (Indian rosewood), or rohida (desert teak or marwar teak) when constructing blocks. You can check out this print in an older post here.

There are many, many more types of manual block printing on fabric from Rajasthan, Gujarat, Andhra Pradesh, Tamilnadu etcetera that I will elaborate on, in another blog post.

Winter saree with a cardigan

Layering the winter saree with cardigans, sweaters and coats without adding bulk is all about playing with length and proportions …

 

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

A handblock printed saree worn with a merino base layer, sweater and long waterfall cardigan, along with sheepskin insoles for my slip-ons all combined to ensure that my winter saree style was not only fun but comfortable.

Bundling up for the colder months and adding layers doesn’t have to add bulk! Cropped sweaters, chunky cable-knits, duster coats, waterfall cardigans, v-necks and striped crews to turtlenecks, oversized cardigans and merino base layers have all helped me continue wearing sarees as the temperatures drop. Examples here, here and here.

I have written posts about wearing sarees in the winter and staying warm here, draping the six yards in the snow here, I have worn it with jeans for winter here and about the unstitched cloth being the ultimate all weather garment here.

When it comes to dressing for the chillier months, it’s all about combinations. Knowing which silhouettes compliment each other and layering my favorite pieces means so many more outfit possibilities than most people can imagine.

A chic knit or the right jacket is the perfect way to upgrade an outfit for the chilly weather as one braves the elements. From bright turtlenecks to patterned pullovers to leather and denim jackets, I’ve rounded up my favourite winter wear that work as wonderful stand-ins for saree blouses while battling a nip in the air.

Sweatshirts: Fleece lined sweatshirts by themselves or over merino base layers work wonderfully with sarees in autumn/winter. Case in point here.

Cropped sweaters: I love wearing my stash of cropped wool sweaters with interesting sleeve details with my six yards and remain forever on the lookout for a perfect vintage piece with fun buttons. A previous example here.

Long cardigans: Wool cardigans of varied lengths make for interesting layers during the colder months. Streamlined or bulky, I love these on their own or under jackets to add dimention to my outfits while staying toasty.

I have a fun collection of duster cardigans in brights as well as neutrals to have fun styling stuff in the winters.

Waterfall cardigans: I love flowy silhouettes, fluid lines and slouchy styling that truly convey the laid back, touseled vibe I like. Knits with interesting details in the front combined with a scarf fashioned out of my pallu is all kinds of fun.

Turtle neck sweaters: Oversize able knit turtle necks are my favourite for work or play and pair beautifully with the unsticthed fabric to create unique looks every single time!

Leather jackets: I believe that a worn-in leather jacket is a versatile piece that can be worn at all times of the day, for any occasion and in nearly every season.

It is a great piece for transitional dressing and layering saree blouses or sweaters in the fall with a leather jacket is the perfect way to tie my outfit together in a fun way.

Denim jacket: I have a thing for oversize, distressed denim. They are fantastic to grab and go plus work wonders with sarees for an understated, casual look.

Striped knits: Nautical or vibrant colour block lines, stripes go with a plethora of patterns and are a great way to elevate one’s cold weather saree style.

Merino, cashmere, mohair, lambswool and angora fabrics on their own or combined with silk keep me incredibly cosy when the temperatures drop.

Those of you who don’t think you could wear winter wear with sarees, think again. Not only is the seasonal combination a practical solution to the frost’s harsh bite, but it’s also all kinds of fun — and super easy to pull off.

Saree in the snow can be fun!

Wearing a saree and going for an alpine hike in a snow covered winter wonderland can be heaps fun and one can definitely be comfortable …

Photos: Vincent Boyer (Say hi on instagram @vincetravelbook)

Imagine walking across a dreamy snow covered forest floor, magical flakes falling all around you and peaks covered in fresh powder … Untouched, pristine landscape with just our footsteps and the absolute silence that comes from being far away from civilisation.

I posted a sneak peak of these photos in my instagram stories a couple of weeks ago and got a bunch of queries from people asking me how I managed a photo shoot in a saree in the snow. That got me thinking, first things first this isn’t a photo shoot, the saree was worn in the morning, we travelled in it to reach the alpine forests and walked up the slopes to witness landscapes that seemed right out of a painting.

Secondly, subzero temperatures don’t mean that one has to be uncomfortable, it just means that one has to be prepared. However, it is good to always remember that alpine weather is unpredictable and a fine sunny day can quickly deteriorate into cold, wet, high wind or blizzard conditions.

One’s clothing, therefore, must be versatile and one should have ready access to protective clothing all day. Alpine conditions demand the best gear and I make sure I don’t compromise on the quality of stuff I get. Activities in the snow alternate between moments of high warmth (effort) and rapid cool down and the key to stay comfortable is to stay dry.

I have written a post before on how I stay warm and toasty wearing sarees in the colder months, you can read it here. I will just add what I have done to be comfortable on the day that these photos were taken:

1. Waterproof snow boots: Sneakers and running shoes don’t provide enough support or sufficient traction to walk in the snow. When I go hiking or backpacking in an alpine environment that’s rugged, steep and exposed, and may involve some challenging, off-trail hiking along difficult rated trails I bring out my heavy-duty padded waterproof boots. The extra height and stiffness of the right boots provides an extra dose of traction and helps support the climber in steep terrain packed with snow.
2. The right socks: When I am hitting the slopes or just hanging about in the snow, I want my feet to be dry, protected and cushioned. My snow socks worn over my pants are also merino wool, ergonomically designed the longer length socks offer comfort plus natural temperature control.
3. Insulating Layers: I am wearing several thin layers that trap air and are made of merino wool that stays warm, even when wet. From thermal underwear to base and mid layers, all of what you can’t see are helping insulate against the cold. Cotton performs poorly in cold and wet conditions even when covered by a thick woollen sweater.
4. Skin and Eye Protection: Sunburn can be a serious problem, even on cloudy days. In addition to protective clothing, I always use a good sunscreen with a high SPF to protect skin exposed to direct or reflected sunlight. I didnt need snow goggles for this particular day but they are invaluable in ‘protecting one’s eyes from the glare off the snow (which can lead to ‘snow blindness’).
5. Beanie: When not indulging in mountain sports, a helmet isn’t essential, however a beanie is a given with or without a helmet. The one I am wearing here is lambswool and lined with fleece — to protect my ears from the winter chill — and keep my head snug.
6. Multiple gloves: I was carrying two pairs of gloves, an inner layer in merino wool and an outer padded, waterproof pair — these are incredibly important if I heading to the snow. I am a complete baby and don’t handle extreme weather well, which is why I go prepared. Not everything needs to be worn all day and by the time these photos were taken I was more comfortable in the layers that I had on me and had taken some stuff including the gloves off.
7. Down jackets: These are my favourite workhorse all winter, I was carrying a vest plus a thicker hooded quilted jacket stuffed with duck and goose down. The high quality of insulation gives these kinds of jackets an excellent warmth-to-weight ratio, making it great at keeping me warm when I am enjoying a long day of adventure. I didn’t need to have the jackets on all day but kept them handy in my pack.
8. Goretex: My outer layer is my waterproof goretex shell that is completely impervious to rain, sleet and snow, with tiny pores that allows perspiration (water vapour) to pass through it from within. When I bought it the price made my eye water but it is worth every penny. I obviously wasn’t wearing the jacket in these photos because I was in no danger of getting wet.

Also the saree I am wearing here is a noil silk saree, it is a coarse fabric that I love and has become a winter staple, previous post here.

Lastly I’d like to add that it may be more challenging to walk in the snows compared to the summer months, but cold-weather hiking is rewarding. Winter days are blissful, and even stormy weather can produce an atmospheric, memorable journey.